International photographer (Jan-Dec 1935)

Sixteen The INTERNATIONAL PHOTOGRAPHER March, 1935 The Crosene Color Process Makes Bow to the Industry By Silvio del Sarto [ITH this issue I am happy to be able to announce to the film industry the completion of a new color process which, I feel sure, will revolutionize current practice in color photography, and which may ultimately replace black and white pictures altogether on the screen. I refer to the Crosene Four-Component Additive Process. If it is true that photography can be made more nearly perfect as an artistic medium of expression by the addition of color, then it must follow that any development in color is one of major importance. While it is true that experimenters in the field of color photography have been able in the past to produce startlingly beautiful results in the laboratory, it is also true that no one of them has yet been able to produce color so consistently good and at so comparatively low a cost as to render a process commercially practical. Something seems always to have been lacking: Ability to produce satisfactory prints in commercial quantity ; definition on the screen comparable to black and white ; uniformity in color rendition in those processes in which selective dyes are used. But now I am able to say that it is my sincere belief that the Crosene process has completely corrected these inadequacies and has given to the photographer, both still and motion picture alike, a system for color reproduction of remarkable accuracy throughout the visible spectral range ; and, which is of the utmost importance, at a price closely approximating black and white production. The Crosene process was originated by Gabriel Garcia Moreno, who will be remembered as the inventor of the Continuous (non-intermittent motion) Camera, as well as other devices of value to the cinematographer. With the coming of sound to the motion picture, Mr. Moreno became convinced that there remained two more steps which logically must be taken if approximate perfection on the screen were to be achieved. These were color and stereoscopy. With characteristic thoroughness he investigated the first of these, temporarily shelving the second, and decided that, commercially, a physical solution, to the problem promised more than a chemical one did. In other words, his process would be an additive one, the success of which would depend completely on the purely physical laws of optics and of light. How accurate was his reasoning will shortly be ascertained by the entire film industry. This I confidently prophesy. During the entire period of development of the Crosene Process one single factor was held to be of prime importance. That factor was commercial practicability. Perfect reproduction of color would be of industrial importance only so long as it would permit the producer to compete with monochrome releases. Contrary to the premise of the Color Magnates who maintain that additive color systems are not acceptable to the exhibitors because they necessitate the addition of some type of optical device to the projector, the sponsors of the Crosene Process have realized from the first that the additive principle was the one which logically must be accepted if color reproduction on the screen were to compare favorably with black and white production from a practical, commercial point of view. So the Crosene Process exists today as a four component additive system which reproduces accurately, consistently and at low cost all the colors within the visible spectral range. The simplicity of the system is its most remarkable feature from the point of view of both the producer and the exhibitor. The photography is done with standard monochrome equipment, with only such changes in the camera as normal bi-pack work requires — i.e., standard bi-pack magazines and a slight adjustment on the pressure plate to permit the passage of the double negative. There are no filters, and, of course, any lens may be used. As in normal bi-pack work, 33^% increase in illumination is World-Wide Motion Picture Development, 1934 MOTION PICTURE EXPORTS INCREASE DURING 1934 Preliminary figures of American motion picture film exports for the year 1934 show a 30,000,000 feet increase in negative and positive sound and silent films over those exported for the year 1933 according to compilations made by N. D. Golden, Chief of the Motion Picture Section. During the year 1934, a total of 194,433,984 feet with a declared value of $4,213,669 were exported as compared with 164,537,245 feet valued at $3,581,017 during the year 1933. The following table shows a breakdown of the above figures in the different classifications for the years 1933 and 1934: 1933 Negative Sound 9,881,811 $ 469,094 Negative Silent 3,157,955 141,715 13,039,766 Positive Sound 147,696,004 Positive Silent 3,801,475 TOTAL 164,537,245 1934 Negative Sound 9,021,753 Negative Silent 2,420,156 $ 610,809 $2,890,436 78,772 $3,581,017 $ 380,555 109,719 Positive Sound 179,659,020 Positive Silent 3,333,055 TOTAL 182,992,075 194,433,984 $3,644,416 78,979 $3,723,395 $4,213,669 As in past years United Kingdom remains our most important outlet for American motion picture films both in footage consumed and as a revenue producing market. During 1934 this market has increased its consumption of American films by over 3,000,000 feet of film by importing 16,806,619 feet with a value of $416,911 as against 13,620,160 feet with a value of $455,551 for the year 1933. Second in importance is Argentina, importing during 1934, 15,558,935 feet with a value of $354,692 as against 12,706,152 feet having a value of $248,848 for the year 1933. Spain remains our third leading market importing 12,018,778 feet with a value of $276,283 during 1934 as compared with $12,116,637 feet of American films with a declared value of $286,390 during the year 1933. In Latin America, Brazil, too has shown an increase in American film showings by importing during 1934, 11,330,961 feet valued at $255,026 as compared with 9,151,956 feet valued at $156,158 for the year 1933. Panama maintains fifth position during 1934 by importing 9,504,095 feet of American made 11,441,909 $ 490,274 Please mention The International Photographer when corresponding with advertisers